Modern Rebel: Alberto Mielgo &

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Can you describe your artistic background before finding your way to animation?
I’m self taught. However, I started working on animation very early so I did learn animation and techniques along with great colleagues. I´m still learning form many people around.

What is the concept behind
2D, fine art and traditional methods but in the present time.

What was your motivation in creating the four pieces “Pill, Kill Your Stress, 女孩陰毛, and PINKMAN?” How are they related to
I find that 2D has been badly treated lately. The 3D industry has collapsed the market and there is no more space for 2D. As well, the latest projects in 2D are too classical, old, quite out of fashion. But 2D can be extremely creative, graphic, with no limitations at all. There are people doing some amazing 2D stuff around. I’ve been pushing companies around to use more 2D. If you have a good painting, you don´t need lighting, textures – it’s a much quicker process. You can see the result in Bealtes Rock Band as well. I also love fine art so I wanted to merge both with

How was each piece technically executed?
I love that you ask me this. First of all, it’s not rotoscope! I’ve been working as animator for a long time and I don’t like rotoscope. Every piece is 2D (traditionally) animated.

For PILL, 女孩陰毛, and PINKMAN, the process is simple: scan, pencil, animation. Once the animation is right, I do a very basic color action. For example, pink for body and dark pink for shadows. Then, I paint on top of each drawing. As the shadow layer has also been animated, I don’t loose shapes. As each frame is hand painted, the skin has that moving feeling, something that here, I was looking to see in the animation. So, every frame is a painting.

In the case of STRESS, the technique is the same, but the clean up is done by hand with black ink pens over standard paper, where I then scan it and edit it. The software used has been Photoshop and After FX. Phil Holder, a great 4×4 technician, helped me on many things and will hopefully in the future as well.

The sound is done by Luis Iruela, in – really great guys, very understanding people.

Where these four pieces your first attempt at creating a series of animated shorts by yourself?

Can you describe how you, as a painter, found your way to animation?
Actually, it’s the other way around. I did start working in animation when I was 17. When 3D animation arrived and took over the market, I had to find another way of living. 3D wasn’t my thing, as I like pencils, paper, painting, and getting dirty, so I started doing paintings and concepts for commercials and movies. Afterward, this is when I approached galleries to sell fine art.

What have been your favorite commercial projects to work on?
Beatles Rock band for sure. They asked me to do my style and they were happy with each piece. The limit of creativity didn’t exist at all. It was great. Also, the team was fantastic. My maits Rob Valley and Pete Candeland are great people to work with. We always enjoy so much working together. I also love my time at Cartoon Network where I’m developing upcoming projects.

What role did you play in the creation of the opening cinematic for The Beatles RockBand?
I was asked to create the look of the first half: Liverpool, NY and London, where I was doing color keys and backgrounds.

For you, is there a correlation between painting and animation?
Definitely, I can´t have one without the other.

Who and what inspires you?
The most inspiring thing for me is to be seated working.